Academic literature on the topic 'Storm, 1888'
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Journal articles on the topic "Storm, 1888"
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Michaelis, Allison C., and Gary M. Lackmann. "Numerical modeling of a historic storm: Simulating the Blizzard of 1888." Geophysical Research Letters 40, no. 15 (August 1, 2013): 4092–97. http://dx.doi.org/10.1002/grl.50750.
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Landshuter, Stephan. "Lars Korten: Poietischer Realismus. Zur Novelle der Jahre 1848–1888. Stifter, Keller, Meyer, Storm. Tübingen: Max Niemeyer 2009." Jahrbuch der Raabe-Gesellschaft 52, no. 2011 (September 15, 2011): 197–202. http://dx.doi.org/10.1515/9783110236705.197.
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Skare, Nils Goran. "Alegoria e Contraponto na Tradução de Theodor Storm por Mauricio Cardozo." Anagrama 4, no. 4 (April 19, 2011): 1–13. http://dx.doi.org/10.11606/issn.1982-1689.anagrama.2011.35546.
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O tradutor e teórico da tradução Mauricio Mendonça Cardozo trouxe à luz em 2006 uma dupla tradução da novela do alemão Thedoro Storm, Der Schimmelreiter (1888). A primeira é entitulada A Assombrosa História do Homem do Cavalo Branco e a segunda se chama O Centauro Bronco: a primeira se passa na Alemanha em meio aos diques, e a segunda no sertão brasileiro em meio à estiagem e açudes. Defendendo que essas duas versões não são simples adaptações, analisamos essas recriações portadores de uma mesma voz que profere/profetiza, fenômeno que determinamos a partir de elementos semióticos da obra de Jacques Lacan envolvendo o significante-fálico e o significante-mestre na delimitação de um ritmo. Em nossa análise, descobrimos que a alegoria é o impulso da tradução
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Al-Abboodi, Muntassir Abdulkadim N. "Focalization of the theme of trouble in Anton Chekhov's works of the second half of the 1880s: “Woe” (1885), “Other People's Misfortune” (1886), “In Trouble” (1886) and “In Trouble” (1887)." Vestnik Tomskogo gosudarstvennogo universiteta, no. 482 (2023): 50–58. http://dx.doi.org/10.17223/15617793/482/5.
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Chekhov wrote four different stories that share the theme of woe and misfortune. Words denoting the theme are present in the titles of these stories, and the plots are built around it. The first story, “Woe”, was written in 1885. The second and third stories, “Other People's Misfortune” and “In Trouble”, were written in 1886. The fourth story, “In Trouble”, was written in 1887. A comparative analysis of these four stories is done for the first time. The relevance of the study lies in the novelty of the study of “trouble” in Chekhov's works. The phenomenon of trouble is widespread in the writer's works, and it has several peculiarities. This article analyses “Chekhovian misfortune” and aims to determine its unique features. The key research method is comparative analysis, which helps indicate the differences and similarities of Chekhov's misfortunes in the four stories, it helps us to better understand Chekhov's philosophy as a writer and as a psychologist. The course of the study is first studying the four stories, then conducting their analysis, and comparing them based on the results of the analysis. This study explores the creation of these stories and compares them to each other. Despite the differences in the plots of these works, common themes and motifs still can be traced. The phenomenon of disaster for Chekhov is a fundamental plot. Chekhov pays great attention to creating a unique, Chekhovian misfortune in the story “In Trouble” in 1887. This story was written after “In Trouble” in 1886, the “trouble” motif of which did not leave the writer satisfied. Chekhov unravels his thoughts of human misfortunes in distinctive context. One of the main features of Chekhovian misfortune is that the writer swiftly gets straight to the point, lets the reader see the character's misfortune and immerse into it. However, the real Chekhovian misfortune is how people treat the ones facing it. It is evident in “Other People's Misfortune”, through which the writer is trying to share his ideas about the fundamental human issues, his outlook on ethics and empathy. These problems are scrutinized in all four of the novels that are being analysed in this work. Combined together they, represent the Chekhovian problem of human relations, which in his writings often leads characters to feeling complete indifference to everything in life. The four different works are united by the moral social problem described in them. The problem consists in the lack of desire for understanding others. Grief or misfortune are not really true misfortunes for Chekhov, especially if they end happily, like in “In Trouble” (1886), but, despite the good ending, the story still has its title. Randomness or inattention to the main or secondary things in life, indifference or aimlessness of the plot gives Chekhov a position of neutrality. Chekhov does not want to evaluate and define trouble (misfortune, woe), since he alone will not be able to persuade the whole humanity of what real trouble is. So, he tried to be as as neutral as possible in relation to his characters, entrusting the reader with the task of evaluating.
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Найма Аль-Аббуди, Мунтассир Абдулкадим. "The theme of fear in A. P. Chekhov’s works in the 1880s – early 1890s: typology of the author’s position." Tomsk state pedagogical university bulletin, no. 4(234) (July 18, 2024): 120–27. http://dx.doi.org/10.23951/1609-624x-2024-4-120-127.
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Страх как один из важнейших концептов человеческой культуры интенсивно и разнообразно описывается в мировой художественной литературе. А. П. Чехов на протяжении всего творчества неоднократно обращался к проблематике человеческих страхов. Показательно, что им написан ряд произведений, в которых существительное «страх» вынесено в название, причем это преимущественно рассказы раннего периода творчества, традиционно датирующийся 1880–1887 гг.: «Тысяча одна страсть, или Страшная ночь» (1880), «Страшная ночь» (1884), «Страхи» (1886). При этом в указанный период создаются и другие произведения, в которых чувство страха, опасности является основой всего повествования, например, «На большой дороге» (1884), «Ночь на кладбище (Святочный рассказ)» (1886). Наконец, рассказ «Страх» (1892) становится кульминацией чеховской проблематики страха жизни. Целью работы стало выявление и описание типологии авторской позиции по отношению к теме страха в творчестве Чехова 1880-х – начала 1890-х гг. Основным материалом являются произведения Чехова раннего периода творчества – 1880–1887 гг., посвященные теме страха, а также рассказ «Страх» начала 1890-х гг. и эпистолярий писателя. Использован метод сопоставительного анализа, системный и нарратологический подходы к художественным произведениям и анализ творчества Чехова в русле позиционного стиля. Сопоставительный анализ чеховских произведений «Тысяча одна страсть, или Страшная ночь», «Страшная ночь», «На большой дороге», «Ночь на кладбище (Святочный рассказ)», «Страхи», «Страх» позволил выявить общее «резонантное» пространство в наследии писателя, посвященное теме страха, что позволяет поставить вопрос о единой авторской позиции по отношению к указанной теме в русле позиционного стиля Чехова. Ранние рассказы «Тысяча одна страсть, или Страшная ночь» и «Страшная ночь» определяются юмористическим подходом к «страшному», однако уже в 1884 г. в драме малой формы «На большой дороге» страх получает драматическое воплощение. Важным в развитии темы страха является 1886 г.: с одной стороны, в рассказе «Ночь на кладбище» Чехов возвращается к юмористическому изображению страха, с другой стороны, в рассказе «Страхи» эта тема обретает экзистенциальные смыслы, которые в рассказе 1892 г. «Страх» вырастают до представления о том, что экзистенциальный страх в человеческой жизни тотален. Рассмотрение произведений Чехова 1880-х – начала 1890-х гг. с точки зрения позиционного стиля позволило увидеть в них типологию авторской позиции по отношению к человеческому страху. Произведения, объединенные этой проблематикой, обладают сходными художественными особенностями: это мотив ночи, мотив непогоды, внутренняя фокализация, обусловленная тем, что повествование организовано от первого лица. Но в целом в этих произведениях выявлена типология изображения чувства страха: авторская позиция по отношению к этой теме определяется юмористическим, драматическим и экзистенциальным подходами. Fear as one of the key basic concepts of culture has repeatedly become the object of researches by Russian and foreign scientists. A.P. Chekhov, throughout his work, repeatedly addressed the problem of human fears. Let us also pay attention to the fact that in the works of A. P. Chekhov there are more than one work with the word “fear” in the title: these are the stories ‘A Thousand and One Passions, A Scary Night’ (1880), ‘A Terrible Night’ (1884), ‘Panic Fears’ (1886), and ‘Terror’ (1892). As we can see, the writer repeatedly came back to the problem of fear and how fear affects people throughout his whole life. In these stories, “fear” is the basis of the entire narrative, this feeling, starting with the title, is embodied at the compositional and metaphorical levels of the text. At the same time, other works were created during this period, in which the feeling of fear and danger is the basis of the entire narrative, for example, ‘On the High Road’ (1884), ‘Night in the Cemetery (Christmas Story)’ (1886). Finally, the story ‘Terror’ (1892) becomes the culmination of Chekhov’s fear of life. The aim is to identify and describe the typology of the author’s position in relation to the theme of fear in the work of A. P. Chekhov in the 1880s and early 1890s. The main material is Chekhov’s works of the early period of creativity in 1880–1887, dedicated to the theme of fear, as well as the story ‘Fear’ (1892) and the writer’s epistolary. The method of comparative analysis, systemic and narratological approaches to works of art and methodological scientific problems of positional style are used. A comparative analysis of Chekhov’s works ‘A Thousand and One Passions, A Scary Night’ (1880), ‘A Terrible Night’ (1884), ‘On the High Road’ (1884), ‘Night in the Cemetery (Christmas Story)’ (1886), ‘Panic Fears’ (1886), and ‘Terror’ (1892) made it possible to identify a common “resonant” space in the writer’s heritage, dedicated to the theme of fear, which allows us to raise the question of a single author’s position in relation to this topic in line with the scientific problems of Chekhov’s positional style. The early stories ‘A Thousand and One Passions, A Scary Night and ‘A Terrible Night’ are determined by a humorous approach to the “terrible”, but already in 1884, in the small-form drama ‘On the High Road’, fear receives a dramatic embodiment. Important in the development of the theme of fear in 1886 is on the one hand, in the story ‘Night in the Cemetery’ Chekhov returns to the humorous depiction of fear, on the other hand, in the story ‘Panic Fears’ this theme acquires existential meanings, which in the story of 1892 ‘Terror’ grow to the notion that existential fear in human life is total. The methodological approach in terms of Chekhov’s positional style made it possible to identify in his works of the 1880s and early 1890s the typology of the author’s position in relation to human fear. The works united by this problem have similar artistic features: this is the motif of the night, bad weather, internal focalization, due to the fact that the narration is organized in the first person. But in general, in these works, a typology of depicting a feeling of fear is revealed: the author’s position in relation to this topic is determined by humorous, dramatic and existential approaches.
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Hughes, Linda K. "A Few Words More about Victorian Women Writers and Germany: George Eliot and Amy Levy." George Eliot - George Henry Lewes Studies 75, no. 1 (November 2023): 1–17. http://dx.doi.org/10.5325/georelioghlstud.75.1.0001.
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Abstract This article revisits the relation between George Eliot and Amy Levy (1861–89), a lesbian New Woman Jewish poet, novelist, short-story writer, and journalist. Levy’s most familiar response to Eliot is a scene in Reuben Sachs (1889), Levy’s last novel, which mocks Eliot’s portrayal of Jewish characters in Daniel Deronda (1876). But Levy was an avowed admirer of Eliot in her early life and alluded to Eliot positively in the short story “Between Two Stools” (1883). In considering Eliot’s potential legacy for Levy, this article examines their shared representation of psychic experience in “The Lifted Veil” (1859) and “The Recent Telepathic Incident at the British Museum” (1887), their shared consideration of conflicts between women’s intellectual aspirations and domesticity in Armgart (1870) and “Xantippe” (1880), and their shared representations of persecution of the Roma in The Spanish Gypsy (1868) and “Run to Death” (1879).
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Harrison, Jennifer. "‘Pitchforking Irish Coercionists into Colonial Vacancies’: The Case of Sir Henry Blake and the Queensland Governorship." Queensland Review 20, no. 2 (October 30, 2013): 135–43. http://dx.doi.org/10.1017/qre.2013.16.
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During the year 1888 — the centenary of white settlement — Australia celebrated the jubilee of Queen Victoria together with the advent of electricity to light Tamworth, the first town in the Southern Hemisphere to receive that boon. In the north-eastern colony of Queensland, serious debates involving local administrators included membership of the Federal Council, the annexation of British New Guinea and the merits of a separation movement in the north. In this distant colony, events in Ireland — such as Belfast attaining city status or Oscar Wilde publishing The happy prince and other tales — had little immediate global impact. Nevertheless, minds were focused on Irish matters in October, when the scion of a well-established west Ireland family — a select member of the traditional Tribes of Galway, no less — was named as the new governor of Queensland. The administrators of the developing colony roundly challenged the imperial nominators, invoking a storm that incited strong opinions from responsible governments throughout Australia and around the world.
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Доманский, Валерий Анатольевич. "TURGENEV AND SIBERIAN JOURNALISM BEGINNING 1880S YEARS." Tomsk state pedagogical university bulletin, no. 4(216) (July 6, 2021): 131–39. http://dx.doi.org/10.23951/1609-624x-2021-4-131-139.
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Введение. Проведен анализ сибирских газет начала 1880-х гг., в которых имеются сведения о И. С. Тургеневе: иркутские газеты «Сибирь» (1873–1887), «Восточное обозрение» (1882–1906) и томские «Сибирская газета» (1881–1888), «Сибирский вестник» (1885–1905). Цель – выявление рецепции личности и творчества великого русского писателя сибирским образованным обществом и понимание его роли в духовной жизни Сибири и России. Материал и методы. Использовались биографический, историко-литературный, историко-функциональный, культурно-исторический и сравнительно-типологический методы. Материалом послужили сибирские и центральные периодические издания 1880-х гг. Результаты и обсуждение. Тургенев оказался знаковой фигурой для культурной жизни Сибири. Его произведения продавались в книжных магазинах Томска, Омска, Барнаула, Иркутска, находились во многих библиотеках Сибири. С появлением первых сибирских газет на их страницах печатались рецензии и материалы о творчестве и событиях жизни русского писателя. Наиболее часто его имя встречалось на страницах «Сибирской газеты». История любви члена редколлегии «Сибирской газеты» С. С. Синегуба была известна в среде революционеров-народников. Она нашла, по мнению автора статьи, свое отражение в разработке любовной интриги Нежданова, Марианны и Соломина (роман «Новь»). Негласным редактором газеты являлся Ф. В. Волховский, политический ссыльный, судимый по «процессу 193-х». В 1877 г. Тургенев не был лично знаком с Волховским, но активно общался с Г. А. Лопатиным, его приятелем и соратником по политической деятельности, и вместе с ним основал Русскую общественную библиотеку в Париже. Особое внимание уделено анализу материалов о И. С. Тургеневе на страницах иркутских и томских периодических изданий: это перепечатки и комментарии статей центральных газет о произведениях Тургенева, собственные рецензии и отзывы о писателе сибирских литераторов. Некоторые из них – Н. И. Наумов, И. В. Омулевский (и, возможно, Н. М. Ядринцев) – были лично знакомы с ним и присутствовали на встречах И. С. Тургенева с редакцией журнала «Слово» и «Русское богатство». Именно в мартовском номере радикального журнала «Слово» в 1881 г. впервые в России опубликовано знаменитое стихотворение Тургенева «Крокет в Виндзоре» (1876). Заключение. Сибирская общественность внимательно следила за творчеством Тургенева, в сибирских газетах печатались сведения о его болезни. После смерти писателя сообщалось о панихидах, которые проходили в ряде сибирских городов. Рассмотрены некрологи и посмертные статьи о Тургеневе, талантливо написанные редакторами «Восточного обозрения» и «Сибирской газеты». В них отмечалось большое значение творчества выдающегося русского писателя и его общественной деятельности для формирования гражданского самосознания сибиряков. Introduction. The analysis of Siberian newspapers of the early 1880s, which contains information about I. S. Turgenev: Irkutsk newspapers «Siberia» (1873–1887), «Eastern Review» (1882–1906) and Tomsk; Sibirskaya Gazeta (1881–1888), Sibirskiy Vestnik (1885–1905). The purpose of the study was to identify the reception of the personality and work of the great Russian writer by the Siberian educated society and an understanding of his role in the spiritual life of Siberia and Russia. Material and methods. In the course of its implementation, a system of methods was used: biographical, historicalliterary, historical-functional, cultural-historical and comparative-typological. Results and discussion. Turgenev turned out to be a significant figure for the cultural life of Siberia. His works were sold in bookstores in Tomsk, Omsk, Barnaul, Irkutsk, and were in many libraries in Siberia. With the appearance of the first Siberian newspapers, reviews and materials about the work and events of the life of the Russian writer were printed on their pages. Most often his name was found on the pages of the «Siberian newspaper». The love story of S. S. Sinegub was known among the populist revolutionaries. She found, in the opinion of the author of the article, its reflection in the development of the love affair of Nezhdanov, Marianna and Solomin (novel «Nov»). The secret editor of the newspaper was F. V. Volkhovsky, a political exile, tried in the socalled «trial of the 193s» in 1877 y. Turgenev was not personally acquainted with Volkhovsky, but actively communicated with G. A. Lopatin, his friend and associate in political activities, and together with him founded the Russian Public Library in Paris. Particular attention in the article is paid to the analysis of materials about Turgenev on the pages of Irkutsk and Tomsk periodicals: these are reprints and comments and articles of central newspapers about the works of Turgenev, their own reviews and reviews of the writer of Siberian writers. Some of them – N. I. Naumov, I. V. Omulevsky (and, possibly, N. M. Yadrintsev) – were personally acquainted with him and were present at Turgenev’s meetings with the editors of the magazine «Slovo» and «Russkoe Bogatstvo». It was in the March issue of the radical magazine «Slovo» in 1881 that Turgenev’s famous poem «Croquet in Windsor» (1876) was first published in Russia. Conclusion. The Siberian public closely followed the work of Turgenev, information about his illness was published in Siberian newspapers. After his death, it was reported about memorial services, which took place in a number of Siberian cities. The author of the article reviewed obituaries and posthumous articles about Turgenev, talentedly written by the editors of «Vostochny Obozreniye» and «Sibirskaya Gazeta». They noted the great importance of the work of the outstanding Russian writer and his social activities for the formation of civic consciousness of Siberians.
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MURPHY, KERRY. "Henri Kowalski (1841–1916) in the Antipodes and His Comic Opera Queen Venus." French Australian Review, no. 73 (December 15, 2023): 42–61. http://dx.doi.org/10.62586/xzhh3780.
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French virtuoso pianist and composer Henri Kowalski visited Australia in 1880 and then returned in 1885 when he settled in Sydney for twelve years. In 1881 he wrote a comic opera, Queen Venus. with a libretto by Marcus Clarke. This paper traces the transformation of Queen Venus into a French fantaisie-bouffe called La Guerre aux hommes, ten years later. It reveals a story of unusual cultural entanglement across two countries.
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Ribeiro, Emilio Soares, and Lauro Maia Amorim. "El descentramiento de las identidades y el otro diferente: reflexiones postmodernas sobre la traducción inevitable." Mutatis Mutandis. Revista Latinoamericana de Traducción 9, no. 1 (June 20, 2016): 95–122. http://dx.doi.org/10.17533/udea.mut.26079.
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En la tradición moderna, el polo hegemónico establece un patrón normal, dicta un modo jerárquico. Como parte de este grupo privilegiado, el texto supuestamente “original” y su autor reciben un valor positivo, mientras que la traducción, el otro diferente, permanece en su cualidad de transparente. Las reflexiones posmodernas sobre las representaciones del otro en el texto traducido influenciaron movimientos que iban en contra de esta forma de imposición de patrones. En este trabajo, destacamos las obras de Derrida (1971, 1973 y 1978) en la ausencia de un significado trascendental; la discusión de Berman (2012) acerca de la relación entre identidad y traducción y la propuesta traductiva queer de Von Flotow (2013), con su poder performativo puede actuar en nombre del movimiento feminista. Al relacionar y contrastar puntos de vista, este artículo considera la diferencia como un aspecto inherente de la traducción. Adicionalmente habla del poder ideológico que ejerce la actividad traductiva en la construcción de identidades y la consolidación de diferencias en la reflexión posmoderna. Además, el artículo analiza la propuesta de la doble traducción al portugués hecha por Maurício Mendonça Cardozo de la novela alemana Der Shimmelreiter (1888) de Theodor Storm, y la forma en la que ésta dialoga con el tema de la identidad de la traducción y su relación con la diferencia.
Dissertations / Theses on the topic "Storm, 1888"
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Korten, Lars. "Poietischer Realismus zur Novelle der Jahre 1848 - 1888 ; Stifter, Keller, Meyer, Storm." Tübingen Niemeyer, 2006. http://d-nb.info/992703107/04.
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Burns, Barbara. "Theory and patterns of tragedy in the later Novellen of Theodor Storm." Thesis, University of St Andrews, 1991. http://hdl.handle.net/10023/13349.
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The thesis is an attempt to refute the indictment of Storm's work as being sentimental and melancholy, arguing that such a judgment fails to take account of the writer's portrayal of tragedy in the final seventeen years of his life. Chapter One analyses a number of aspects of Storm's thought and experience which disposed him towards a tragic view of the world: this includes an examination of the possible impact of the popular philosophies of Feuerbach, the Materialists, Darwin and Schopenhauer, as well as the significance of his educational background, his career as a judge, and his attitude to family life, religion, politics and society. Chapter Two considers the aesthetic convictions underlying Storm's conception and portrayal of tragedy, looking also at the idea of the Novelle as a suitable medium for tragedy and at the relationship between the author's later work and the tragedies of Naturalism. Chapters Three to Five present a detailed study of six individual Novellen which treat themes representative of Storm's work. Chapter Three focuses on Storm's attitude to the destructive potential of prejudice and superstition in society, taking Renate (1878) and Ein Doppelganger (1886) as examples of "The Tragedy of Social Compulsion". Chapter Four investigates his pessimistic preoccupation with the subject of heredity, discussing John Riew' (1885) and Der Herr Etatsrat (1881) as cases of "The Tragedy of Genetic Compulsion". Chapter Five is entitled "The Tragedy of Personal Responsibility": it examines Ein Bekenntnis (1887) and Zur Chronik von Grieshuus (1883) as Novellen in which the leading characters incur specific moral guilt, and considers the nature and results of their attempts to atone for their crime.
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Cozic, Alain. "L'art de la nouvelle chez Théodor Storm." Paris 12, 1992. http://www.theses.fr/1992PA120058.
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Ce travail a pour objectif de circonscrire les composantes de l'art de la nouvelle chez theodor storm, considere comme l'un des grands auteurs de langue allemande du 19eme siecle. La methode adoptee, au lieu de tenir la notion de "nouvelle" pour une evidence puis de tenter de montrer ensuite en quoi les oeuvres se conformeraient a ces normes preetablies ou s7en eloigneraient, se fonde au contraire sur une analyse precise plus formelle que thematique - des textes et s'efforce d'en induire les lois organisatrices, les traits distinctifs. L'etude comporte six grands ensembles : la forme generale des oeuvres, les narrateurs et la narration, les actions, le temps, les lieux, les personnagesThe aim of this work is to define the scope of the different aspects of theodor storm's art of the short story- theodor storm considered as one of the 19th century major writers in the german language. The adopted method, instead of holding the notion of short story as an evidence then to try to demonstrate afterwards to what extent these works would confrom to preestablished norms, on the contrary is built upon a precise analysis of the texts - more formal than thematic - and endeavours to induce its organizing rules, its distinctive features. The study includes six main parts : the general form of the works, the narrators and the narration, the actions, the time, the places, the caracters
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Petereit, Elisabeth. "Beunruhigungen vom Rand ˸ Weiblichkeit, Phantastisches und Ornament in der Literatur des deutschsprachigen Realismus (Keller, Storm, Fontane)." Thesis, Paris 3, 2019. http://www.theses.fr/2019PA030054.
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Cette thèse propose une lecture de textes canoniques du réalisme germanophone selon le prisme des inquiétudes que provoquent les éléments placés à la marge : le féminin, le fantastique et l’ornement. La base commune qui permet de relier ces catégories esthétiques, anthropologiques et sociales est qu’elles se définissent en tant qu’Autre dans une bipolarité : homme – femme, réel – fantastique, ›grand‹ art – ornement. La hiérarchie qui sous-tend ces oppositions s’avère néanmoins peu stable, de telle sorte que ces éléments marginalisés troublent le centre normatif. Le fantastique est abordé comme élément constitutif pour la mise en forme littéraire de problèmes sociaux actuels et ›réels‹, et les rapports entre les sexes tels que définis par la société bourgeoise, sont montrés comme mis en mouvement et ambivalents. L’analyse détaillée des textes de Theodor Fontane, Gottfried Keller et Theodor Storm se concentre d’abord sur la femme comme ›principe esthétique‹ et comme ›genre‹, capté et fixé dans l’image, et montre que ce féminin imagé et idéalisé se convertit au contraire en déclencheur d’une imagination débridée et déréglée, qui s’inspire de sources littéraires et mythologiques (Pénélope, Cendrillon, sorcières etc.). Elle s’attache ensuite aux modèles, aux rôles et aux normes liés au mariage bourgeois et aux enjeux qu’ils constituent pour l’acceptation ou le rejet de la femme comme égale. La troisième partie étudie enfin les rapports entre l’idéal familial bourgeois et la société patriarcale. Dans les romans le mariage bourgeois est hanté par les fantômes de rôles sexuels encore en vigueur, mais désormais obsolètes, ce qui confère aux foyers une inquiétante étrangeté au sens FreudienThis dissertation offers an analysis of canonical texts from German literary realism using the anxiety that is felt by readers and writers in what constitutes the margins of realist literature in the 19th century: the feminine, the fantastic and ornamentations.These aesthetic, anthropologic and social categories are linked as they are all defined by a binary opposition that turns them into the Other or the Inessential: male-female, reality-fantastic, art-ornamentation. The hierarchy upon which these oppositions are built is however not that stable as these elements at the margin do trouble and replace what constitutes the society’s normative core. The fantastic elements in the works of the authors are used as constituting materials to engage the literary discussion on present and real social problems at the time of writing. The relationships between the sexes and genders which were so clearly described in the bourgeois era are seen as ambivalent and in motion.The three parts of this dissertation provide an in-depth analysis of the works of Theodor Fontane, Gottfried Keller and Theodor Storm. The first section of the work will focus on the figure of the woman as an aesthetic which is both captured and fixed in the image. It will show that this idealised and pictured feminine becomes the catalyst for unbridled and unruly imagination. Then, the traditional roles and behaviours within patriarchal marriage will then be shown to be largely inspired by literary tradition, and in particular in the myths and the fairy-tale (Penelope, Cinderella, the Witch, etc.). Lastly, the relationships between the ideal bourgeois family and the patriarchal family will be analysed in the work of Fontane and Storm. As the era of German realist literature ended, patriarchal marriage was haunted by the ghosts of gender roles, which however obsolete, were still predominant. This paradox made families unheimlich in the Freudian sense
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Nascimento, Fabiana Angélica do 1972. "A novela Pole Poppenspäler de Theodor Storm e o tema da oposição entre o artista e o burguês." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269865.
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Orientador: Mário Luiz FrungilloDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: O objetivo deste trabalho é analisar a novela Pole Poppenspäler como uma narrativa organizada ao redor do tema da oposição entre o artista e o burguês. Tal perspectiva de análise abrangerá não só o tratamento dado a essa temática, bastante cara à literatura alemã, mas também a sua representação no contexto do Realismo Poético e na própria evolução do gênero novela. Em Pole Poppenspäler o conflito gerado pela transição entre duas diferentes perspectivas, a do mundo pequeno burguês e a do artista, condensa-se, de forma simbólica, na trajetória das personagens Tendler e Paul, ao mesmo tempo em que está presente, de modo realista, a caracterização geográfica e humana das "pessoas simples" ("kleine Leute"), como camponeses, operários e artesãos. Também a regionalização geográfica e linguística estão de acordo com o repertório típico do realismo do século XIX, por meio da representação das paisagens alemãs e do uso de dialetos. Para que a nossa hipótese de interpretação fosse efetivamente realizada, a história do gênero novela foi revista em seus diferentes momentos de existência. Desse modo, pôde-se investigar de que maneira a alteração dos pressupostos históricos provoca alterações na representação do conflito entre as mentalidades do artista e do burguês
Abstract: The goal of this research is to analyze the short-novel Pole Poppenspaeler as a narrative organized around the theme of the opposition between the artist and the bourgeois citizen. Such an analysis perspective will comprehend not only the treatment given to the theme (very dear to German literature), but also the representation the theme has in the context of Poetic Realism, besides the way the genre of short-novel has develop itself. In Pole Poppenspaeler, the conflict generated by the transition between two different perspectives (one from the bourgeois world and another from the artist) condense itself, in a symbolic way, through the characters¿s Tendler and Paul journey; at the same time, it is present (in a realistic manner) the geographic and human characterization of "simple people" ("kleine Leute"), like countrymen, workmen and artisans. Also the geographic and linguistic regionalization are according to the typical repertory of the XIXth century realism. In order to our hypothesis of interpretation be effectively executed, the History of the short-novel as a genre was reviewed in its different moments of existence. Therefore, it is possible to investigate how the alteration of the hystorical processes provokes an alteration in the representation of the conflict between the artist¿s and the bourgeois citizen¿s mindsets. Keywords: German literature, Poetic Realism, motive, short-novel
Mestrado
Teoria e Critica Literaria
Mestra em Teoria e História Literária
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Lolliot, Rachel. "Mécanismes de la fatalité et construction d'un élan vital dans les nouvelles de Theodor Storm et de Guy de Maupassant." Thesis, Reims, 2015. http://www.theses.fr/2015REIML004/document.
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La nouvelle étant un récit bref, elle est à même de représenter le tragique de l'existence : elle attrape sur le vif tous les événements de la vie et les présente dans une économie restreinte. Theodor Storm et Guy de Maupassant ne manquent pas à cette règle et proposent des récits marqués par l'empire de la fatalité. Celle-ci est la manifestation du destin et/ ou du hasard qui transparaissent à travers la description de paysages réalistes et à travers la mise en avant d'objets clé qui entraînent avec eux la décrépitude des personnages. La technique narrative est également au service de la mise en scène de ce déterminisme, ainsi, l'un et l'autre auteur se permettent d'enchâsser les histoires, de revenir en arrière dans la narration pour mieux faire peser le poids du destin et/ ou du hasard afin de souligner que chacun fonctionne comme un mécanisme à ressort se déroulant tragiquement. Pourtant, même si tout laisse supposer le contraire, ces nouvelles ne sont pas qu'imprégnées de pessimisme. En effet, de cette fatalité empreinte de destin et/ ou de hasard se dégage un élan vital caractéristique de la pensée philosophique et sociale du XIXe siècle. Le destin et/ ou le hasard est en fait l'expression aveugle d'une volonté qui détermine le choix des personnages. Aussi ces nouvelles mettent-elles l'accent sur l'illusion du libre arbitre des personnages qui pensent pouvoir se déterminer eux-mêmes. De là, l'élan créatif issu de l'écriture permet une suspension de ce déterminisme. Ainsi, ce sont ces mécanismes de la fatalité qui sont démontés dans ce travail afin de repérer cet élan vital, salvateur et libérateur propre à la conception philosophique et littéraire du XIXe siècleA short story is a brief narrative and therefore can represent the tragic of existence : it catches on the spot all the events of life and presents them in a restricted economy. Theodor Storm and Guy de Maupassant obey the rule and offer narratives marked by fatality, which is the demonstration of fate and/ or chance shown through the description of realistic landscapes and through the emphasis of key objects which pull with them the decline of the characters. The narrative technique also serves the fabrication of this determinism. So, both authors allow themselves to intersperse stories, to go back into the narration, so that the weigh of fate and/ or chance is heavier and works as a spring mechanism taking place tragically. Nevertheless, even if everything suggests the opposite, these short stories are not so pessimistic. Indeed, a life force typical of the philosophical and social thinking of the 19th century arises from this fatality marked with fate and/ or chance. Fate and/ or chance is in fact the blind expression of a will which determines the choice of characters. So these short stories emphasize the illusion of characters' free will who think they can decide of their life. From there, the creative impulse stemming from the writing allows a interruption of this determinism. So, it is those mechanisms of fate that are defused in this work to observe this saving and liberatoring life force, inherent to the philosophic and literary concept of the XIXth century
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Danielsson, Emil. "Stora Tuna sockens emigranter 1885-1887 : En undersökning av emigrationen från Stora Tuna socken till Amerika." Thesis, Karlstads universitet, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-77947.
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Hudson, Linda Sybert. "Jane McManus Storm Cazneau (1807-1878): A Biography." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc278486/.
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Jane Maria Eliza McManus, born near Troy, New York, educated at Emma Willard's Troy Female Seminary, promoted the American maritime frontier and wrote on Mexican, Central American, and Caribbean affairs. Called a "terror with her pen," under the pen name of Cora Montgomery, she published 100 columns in 6 newspapers, 20 journal articles and book reviews, 15 books and pamphlets, and edited 5 newspapers and journals between 1839 and 1878.
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GARCÍA, DE PASO Ignacio. "'The Storms of 1848' : the global revolutions in Spain." Doctoral thesis, European University Institute, 2022. http://hdl.handle.net/1814/74332.
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Defence date: 07 March 2022Examining Board: Lucy Riall (European University Institute); Pieter Judson (European University Institute); Florencia Peyrou Universidad Autónoma de Madrid); Stephen Jacobson, (Universitat Pompeu Fabra)
This thesis explores the effect of the 1848 revolutionary cycle in Spain and its imperial space, focusing on its global connections and on the intersections between revolution, counterrevolution, and empire building. In doing so, it aims to contribute to a global approach to the 1848 revolutions that goes beyond perspectives that are exclusively centred on Europe as space. In this thesis, mid-nineteenth century Spain is understood not as a nation-state within the Iberian Peninsula, but as a fluid global empire with colonies, diasporas, and exile communities in various spaces. Considering the chronological frame of a “long 1848” and using various scales, this thesis stresses the continuities between the political upheavals and international reconfigurations that occurred around the year 1846, and the revolutionary events of 1848-1849. This thesis opposes the traditional image of Spain as an exception to the revolutionary cycle. It argues that the Parisian Revolution did in fact have a significant impact on the Iberian Peninsula, which prompted the Spanish government to develop counterrevolutionary measures on both sides of the Atlantic. Exile communities in Europe and spaces like Paris, Oran or New Orleans profited from the occasion presented by the 1848 revolutions to challenge either the political status quo in the metropole or the colonial order in the Caribbean. This generated a flow of transnational mobilities of revolutionary (and counterrevolutionary) actors, information, propaganda, and material; mobilities that diverse state actors tried to curtail through various means to prevent revolutionary contagion. At the same time, hundreds of political prisoners were sent to overseas possessions as part of a repressive repertoire that combined counterrevolution and colonisation through the relocation of convicts. Finally, this thesis explores the changes to several political cultures in the Spanish empire during the early 1850s as a result of the revolutionary cycle.
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Wallace, Alicia. "Do You Know the Storm?: The Forgotten Lieder of Franz Schreker." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849748/.
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Franz Schreker (1878-1934) was a Jewish-Austrian composer of great success during the first decades of the twentieth century. Schreker’s reputation diminished after 1933 when Hitler came to power and, in 1938, his compositions were labeled Entartete Musik (“degenerate music”) by the Nazis in a public display in Düsseldorf. The Third Reich and post-war Germany saw Schreker as a decadent outcast, misunderstanding his unique style that combined elements of romanticism, expressionism, impressionism, symbolism, and atonality. This study of Schreker’s Lieder will pursue two goals. First, it will analyze the Mutterlieder (before 1898), the Fünf Gesänge (1909), and the first piece from Vom ewigen Leben (1923) stylistically. Schreker composed nearly four dozen Lieder, incorporating a wide range of styles and ideas. By studying and performing these songs written at various points in his career (including early songs, songs written after he met Schoenberg, and his last songs during the height of his fame), I hope to develop a clearer understanding of how Schreker synthesized the many cultural forces and artistic movements that seem to have influenced his compositional style. Second, this study will consider the sociopolitical circumstances that fueled the disintegration of his reputation. This disintegration occurred not just during the Third Reich, but also afterwards, notably in an often discussed essay by Theodor Adorno. Only in the last thirty years have scholarly voices critical of such rejections of Schreker emerged. My ultimate goal, then, is to join this reevaluation, studying and contextualizing this repertory to develop a new understanding of an oft-neglected chapter in the history of the German Lied.
Books on the topic "Storm, 1888"
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Strehl, Wiebke. Theodor Storm's Immensee: A critical overview. Rochester, N.Y: Camden House, 2000.
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Swift, Will. The Kennedys Amidst the Gathering Storm. New York: HarperCollins, 2008.
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Bürger auf Abwegen (Conference) (2015 Husum, Schleswig-Holstein, Germany; Lübeck, Germany). Verirrte Bürger: Thomas Mann und Theodor Storm : Tagung in Husum und Lübeck 2015. Frankfurt am Main: Verlag Vittorio Klostermann, 2016.
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Hughes-d'Aeth, Tony. Paper nation: The story of the Picturesque atlas of Australasia 1886-1888. Carlton, Vic: Melbourne University Press, 2001.
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Duncan, Kunigunde. Blue star: The story of Corabelle Fellows, teacher at Dakota Missions, 1884-1888. St. Paul: Minnesota Historical Society Press, 1990.
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Boas, Franz. Eskimo story (written for my children): My Arctic expedition, 1883-1884. Mystic, Conn: Seaport Autographs Press, 2007.
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Briggs, Robert. Hurled into eternity: The story of the Earps in Tombstone, 1880-1882. Madison, GA: Southern Lion Books, 2007.
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McPherson, Stephanie Sammartino. Rooftop astronomer: A story about Maria Mitchell. Minneapolis: Carolrhoda Books, 1990.
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Fabricius, Karen Margrethe. Rise bryggeri: Fra mælk til malt. Ærøskøbing]: Ærø Museum, 2007.
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Niederhauser, Emil. 1848, Sturm im Habsburgerreich. Wien: Kremayr & Scheriau, 1990.
Find full textBook chapters on the topic "Storm, 1888"
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Bahn, Michael. "Theodor Storm (1817–1888)." In Handbuch Märchen, 301–4. Berlin, Heidelberg: Springer Berlin Heidelberg, 2023. http://dx.doi.org/10.1007/978-3-662-66803-0_50.
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Lefebvre, Jean. "»Renate« (1878)." In Storm-Handbuch, 206–8. Stuttgart: J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-05447-0_58.
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Deupmann, Christoph. "»Schweigen« (1883)." In Storm-Handbuch, 228–29. Stuttgart: J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-05447-0_66.
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Küpper, Thomas. "»Im Saal« (1848)." In Storm-Handbuch, 129–30. Stuttgart: J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-05447-0_30.
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Theisohn, Philipp. "»Carsten Curator« (1878)." In Storm-Handbuch, 209–12. Stuttgart: J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-05447-0_59.
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Pastor, Eckart. "»John Riew’« (1885)." In Storm-Handbuch, 235–36. Stuttgart: J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-05447-0_69.
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Haut, Gideon. "»Ein Doppelgänger« (1886)." In Storm-Handbuch, 240–43. Stuttgart: J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-05447-0_71.
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Totzke, Ariane. "»Bötjer Basch« (1886)." In Storm-Handbuch, 244–45. Stuttgart: J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-05447-0_72.
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Begemann, Christian. "»Ein Bekenntnis« (1887)." In Storm-Handbuch, 246–49. Stuttgart: J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-05447-0_73.
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Neumann, Christian. "»In St. Jürgen« (1868)." In Storm-Handbuch, 173–74. Stuttgart: J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-05447-0_47.
Full textConference papers on the topic "Storm, 1888"
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de Cogan, D. "Background to the 1858 telegraph cable." In IET Seminar on the Story of Transatlantic Communications. IEE, 2008. http://dx.doi.org/10.1049/ic:20080666.
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de Cogan, D. "Insights into the landing of the 1858 cable." In IET Seminar on the Story of Transatlantic Communications. IEE, 2008. http://dx.doi.org/10.1049/ic:20080668.
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Gramcianinov, C. B., R. M. Campos, C. Guedes Soares, and R. de Camargo. "Comparison Between ERA5 and CFS Datasets of Extratropical Cyclones Associated With Extreme Wave Events in the Atlantic Ocean." In ASME 2020 39th International Conference on Ocean, Offshore and Arctic Engineering. American Society of Mechanical Engineers, 2020. http://dx.doi.org/10.1115/omae2020-18488.
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Abstract Atmospheric and ocean datasets using numerical modeling allied to data assimilation are valuable tools for planning and maintaining marine activities, particularly due to their spatial coverage and resolution. However, even modern analyses and reanalyses present critical errors where cyclonic winds are often underestimated in some locations, leading to issues in wind-wave climate hindcasts and forecasts. This work aims to evaluate two of the newest datasets available regarding their ability to reproduce extratropical cyclone tracks associated with extreme waves in the Atlantic Ocean. The analysis is focused on the storm track position and cyclone intensity, two important features that control the wave climate. The datasets used are the ECMWF’s ERA5 and NCEP’s CFSv2. The cyclones are identified and compared between 2011 and 2018 using the relative vorticity at 850hPa and the intensity is measured through the 10-meters wind speed. The results show that the differences in track density exist mainly in coastal areas and they can be related to the coarser resolution of CFSv2 compared to ERA5. CFSv2 presents a higher number of cyclones associated with extreme wave events in the South and North Atlantic, corresponding to 87.1% and 89.2% of the cyclones identified, while ERA5 presents 66.6% and 59.5% respectively. The maximum intensity distribution shows that CFSv2 tends to produce more intense cyclones than ERA5, even for identical storms in the datasets. The distances of matching cyclones in the two datasets are around 0.5°.
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Oakley, Bryan A. "STORM DRIVEN MIGRATION (1883 – 2014) OF THE NAPATREE BARRIER, RHODE ISLAND, USA." In Joint 69th Annual Southeastern / 55th Annual Northeastern GSA Section Meeting - 2020. Geological Society of America, 2020. http://dx.doi.org/10.1130/abs/2020se-343116.
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Iskimzhi, Tatiana. "Rare books of the cultural documentary heritage of the jewish people in the library fund named after I. Magera." In Simpozionul Național de Studii Culturale, Ediția a 2-a. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/9789975352147.13.
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The information, containing the entire world experience of mankind and serving as historical memory of the nation and the basis for further economic and spiritual progress of society, is stored in libraries. The preservation for future generations of this invaluable information and its carriers – the books that make up the library funds, has become a global task that all civilized countries of the world are solving. In order to preserve the Jewish cultural documentary heritage in the Library named after I. Manger, the department “Rare Book” has been functioning since 2000. Its fund has more than 1500 copies of documents. The collection in Hebrew includes mainly religious books published in the XIX and early XX centuries. The rarest of them are 2 Torah scrolls, volumes of the Babylonian Talmud, published in 1848–1880 in Lemberg, the edition of the Torah (Pentateuch of Moses), dated 1874; Books of the Prophets 1904 and 1914 editions, Zohar 1910, Haggadah. The collection of these rare and valuable books was formed partly through acquisitions in Bukinist bookshops, but the main part was received as a gift from residents of Chisinau and Moldova. Libraries are firstly designed to perform a dual function: to store documents published and written in the past and to provide access to them for present and future generations.
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Gupta, Aditya, Manasa R. Behera, and Amin Heidarpour. "Numerical Modeling of Wave Damping Induced by Emerged Moving Vegetation." In ASME 2020 39th International Conference on Ocean, Offshore and Arctic Engineering. American Society of Mechanical Engineers, 2020. http://dx.doi.org/10.1115/omae2020-18588.
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Abstract The unprecedented risk of global warming has put the coastal population at greater risk from coastal hazards due to an increase in sea level and other storm-related activities. Coastal vegetations are one of the soft solutions that can be implemented for wave mitigation. This study aims to investigate the wave damping effect of a regular wave by emergent moving coastal vegetation. Smoothed Particle Hydrodynamics (SPH), a particle-based method is used for generating fluid particles and Differential Variational Inequality (DVI) is coupled with SPH to deal with the dynamics of moving vegetation. The 3-D numerical model is simulated using an open-source tool DualSPHysics 4.4. The model is tested for regular wave height (H) of 0.08 m, wave period (T) of 2 seconds in a water depth (d) of 0.40 and 0.45 m for two relative vegetation height (h/d) of 1.25 and 1.11 respectively. The results are validated with the experimental study for the rigid vegetation and then the model is extended for moving vegetation. The results indicate that the wave damping is overestimated in the case of rigid vegetation. Further, the application of this study can be extended for studying the tsunami hazard mitigation in the presence of coastal forest.
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Pardo, Zulma. "EL DIBUJO COMO REPRESENTACIÓN DE REACCIONES FRENTE A ACCIDENTES LABORALES." In Mujeres en ingeniería: empoderamiento, liderazgo y compromiso. Asociación Colombiana de Facultades de Ingeniería - ACOFI, 2021. http://dx.doi.org/10.26507/ponencia.1828.
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En este artículo se presentan los resultados de una investigación de una técnica innovadora de enseñanza para accidentes laborales que combina story-telling, dibujo y auto-reflexión. Esta técnica aplica la teoría de la memoria de Baddeley para memoria de corto plazo y largo plazo. Se presenta la implementación y los resultados obtenidos durante la práctica de la técnica propuesta. Los objetivos pedagógicos planteados al comenzar el proyecto fueron alcanzados. La autora presenta sus recomendaciones para aplicar ésta técnica en otros proyectos si así se desea y plantea que supropuesta puede ser aplicada como intermedios durante una clase donde la temática abordada sea densa y constituyen un momento de ruptura donde el alumno puede aprender otros temas complementarios a la materia que estudia.
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Dimitrakopoulou, Georgia. "�NOVELLA GRECA.� ?. SERAO�S 19TH CENTURY GREECE. ITS REALITIES AND ITS ANTITHESES." In 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s10.17.
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In the short story Novella Greca, in her book: Fior di Passione, 1888, the author M. Serao narrates the true story of Calliope Stavro, the heroine (Calliopi Stavrou in Greek), in Leucade - Santa Maura (Lefkada - Agia Mavra in Greek), an island of the Ionian Sea, in 19th century Greece. At that time, the country was just freed from the Turkish occupation, trying to recover from more than 400 years of slavery and subjugation to the Ottoman Empire. Calliope Stavro represents the woman of her time, imprisoned in the small society of her island, suffocated, asphyxiated, disillusioned and unfulfilled. Thus, she decides to commit suicide not having a way out in her island, which although it is a naturally beautiful place due to its greenery, it is a barren rock �thrown� into the Ionian Sea without any promising future for its inhabitants. Serao realistically exposes the true story of the heroine�s female identity, whose death signifies her suffocation within the patriarchal society of her time. The writer presents the outlets of human existence, the small society of the island, the negative influence of the heroine�s microcosm, which mostly depends on the raisin trade, its production and export, with which almost all the males of the island are preoccupied, since it provided a profitable income in that time. Faced with the crushing reality of her life, the non-existence of love, no romance, male dominance, and indifference, even misogynism, she chooses death, she surrenders to her doomed destiny and the futility of existence, because she is not allowed to live a free life according to her will. Her fatal fall from Lefkata�s cape, where in ancient times there was a temple of god Apollo, god of music, light, and patron of the arts and divination, signifies the death of the gods of Olympus. Their place has been taken by a harsh reality, the revelation of the demands of the human soul, its desires, and its dead ends. Greece will need and still needs a long way to go to find the place it deserves in history, free from patriarchal structures, prejudices, and the impasses that they entail. The story of Calliope Stavro proves in practice the predicament of the female under the patriarchal standards of her era and the unsatisfied desires of the human psyche, which are sacrificed for the sake of survival, most times with unpredictable, unpleasant and unhappy results.
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Raxworthy, Julian. "A Story of Two Titles: The Torrens System and Parcel 702, Adelaide." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4023p41ye.
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Although the catchment - the topographically defined edge where “all rainfall… drains naturally … or is directed to by human intervention towards … the catchment outlet [which may be immediately a creek, but ultimately is the ocean] ” – is the most significant boundary for ecological function of landscapes, Raxworthy has argued that property boundaries and land tenure make it such that “landscape pattern is as much an emergent quality of capitalism as it is propensity[y] of [the landscape.” Despite its role in establishing the pattern of the landscape, landscape architects tend to treat property boundary as a given that is almost invisible when every act they do reacts to it in some way, necessitating, Raxworthy continues, a theorising of land tenure in landscape architecture. I hope to continue Raxworthy’s project in this paper by examining the celebrated model of contemporary land titling – the Torrens System – in its place of origination – Adelaide – and explore the relationship between landscape, people and land titling. Two of the things Adelaide is most famous for might seem complimentary but are actually contradictory: the Torrens System of title (which Atkinson, quoting Greg Taylor, calls ““South Australia’s most successful intellectual export.”” ) and the first successful determination Native Title in a capital city of Australia. Developed by Robert Richard Torrens, the “Real Property Act (1858)” (which subsequently became known as Torrens Title, or the Torrens System) and “simplify[ied] the Laws relating to the transfer and encumbrance of freehold and other interests in land,” by creating a centralised registration system of actual land ownership, rather than simply deeds, removing potentials for contestation. In the developing world the Torrens System has been a very important tool in helping secure land title in post-colonial countries “[becoming] the norm in both Anglophone and Francophone colonial Africa,” yet, as Leonie Kelleher has argued, the Torrens System effectively eclipsed the previous sovereignty of Aboriginal people in the very place of its creation.
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Minoretti, A., and T. O. Olsen. "The Submerged Floating Tube Bridge: History of a new Structure." In IABSE Symposium, Wroclaw 2020: Synergy of Culture and Civil Engineering – History and Challenges. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2020. http://dx.doi.org/10.2749/wroclaw.2020.0430.
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<p>The Submerged Floating Tube Bridge is an old concept from 1886, conceived by an English naval architect. The structure was proposed for several crossings in the 20th century, in Norway and in several other places in the world. Preliminary studies were performed but the structure was never analyzed as a real possibility due to the lack of technology. With the developments of the offshore oil&gas platforms, the studies become more accurate, especially in correspondence with the E39 Fjord Crossing project, that aims to replace several ferries along the western coast of Norway with fixed links, in areas where the fjords can be extremely deep and the length of the required crossing very long. The paper tells about the story of this structure in the 20th century, about the projects and the people that have tried to bring this bridge into reality. The challenges that have hindered the construction of this structure are discussed and the goals achieved in the recent years are illustrated.</p>
Reports on the topic "Storm, 1888"
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Murray, Chris, Keith Williams, Norrie Millar, Monty Nero, Amy O'Brien, and Damon Herd. A New Palingenesis. University of Dundee, November 2022. http://dx.doi.org/10.20933/100001273.
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Robert Duncan Milne (1844-99), from Cupar, Fife, was a pioneering author of science fiction stories, most of which appeared in San Francisco’s Argonaut magazine in the 1880s and ’90s. SF historian Sam Moskowitz credits Milne with being the first full-time SF writer, and his contribution to the genre is arguably greater than anyone else including Stevenson and Conan Doyle, yet it has all but disappeared into oblivion. Milne was fascinated by science. He drew on the work of Scottish physicists and inventors such as James Clark Maxwell and Alexander Graham Bell into the possibilities of electromagnetic forces and new communications media to overcome distances in space and time. Milne wrote about visual time-travelling long before H.G. Wells. He foresaw virtual ‘tele-presencing’, remote surveillance, mobile phones and worldwide satellite communications – not to mention climate change, scientific terrorism and drone warfare, cryogenics and molecular reengineering. Milne also wrote on alien life forms, artificial immortality, identity theft and personality exchange, lost worlds and the rediscovery of extinct species. ‘A New Palingenesis’, originally published in The Argonaut on July 7th 1883, and adapted in this comic, is a secular version of the resurrection myth. Mary Shelley was the first scientiser of the occult to rework the supernatural idea of reanimating the dead through the mysterious powers of electricity in Frankenstein (1818). In Milne’s story, in which Doctor S- dissolves his terminally ill wife’s body in order to bring her back to life in restored health, is a striking, further modernisation of Frankenstein, to reflect late-nineteenth century interest in electromagnetic science and spiritualism. In particular, it is a retelling of Shelley’s narrative strand about Frankenstein’s aborted attempt to shape a female mate for his creature, but also his misogynistic ambition to bypass the sexual principle in reproducing life altogether. By doing so, Milne interfused Shelley’s updating of the Promethean myth with others. ‘A New Palingenesis’ is also a version of Pygmalion and his male-ordered, wish-fulfilling desire to animate his idealised female sculpture, Galatea from Ovid’s Metamorphoses, perhaps giving a positive twist to Orpheus’s attempt to bring his corpse-bride Eurydice back from the underworld as well? With its basis in spiritualist ideas about the soul as a kind of electrical intelligence, detachable from the body but a material entity nonetheless, Doctor S- treats his wife as an ‘intelligent battery’. He is thus able to preserve her personality after death and renew her body simultaneously because that captured electrical intelligence also carries a DNA-like code for rebuilding the individual organism itself from its chemical constituents. The descriptions of the experiment and the body’s gradual re-materialisation are among Milne’s most visually impressive, anticipating the X-raylike anatomisation and reversal of Griffin’s disappearance process in Wells’s The Invisible Man (1897). In the context of the 1880s, it must have been a compelling scientisation of the paranormal, combining highly technical descriptions of the Doctor’s system of electrically linked glass coffins with ghostly imagery. It is both dramatic and highly visual, even cinematic in its descriptions, and is here brought to life in the form of a comic.